7 iconic rock songs you won’t believe weren’t sung by the lead singer

Let’s delve into the realm of classic rock tunes, although there might be a slight deviation from the norm at the outset. I’d like to initiate our discussion with something that serves as a precursor – it’s not strictly classic rock. Instead, it’s a jump blues/jazz composition that Louis Prima and his band popularized in 1957.

As a music enthusiast, I can’t help but share my admiration for the powerful ballad, often known as “Next Time,” or as some may call it, “They’ll Be No Next Time.” This soulful tune was first brought to life by the legendary Richard Berry, who also penned and performed one of rock & roll’s foundational pieces, the iconic “Louie, Louie.” If you’re a classic rock fan like me, you’ll appreciate the connection between these two masterpieces from this remarkable artist.

In 1955, “Next Time” was a blues song with a strolling rhythm that Chuck Berry performed. Later, Louis Prima transformed it into a jump blues tune, which was typical of his style. However, what wasn’t common was his selection of the singer. Instead of himself, Louis Prima opted for Sam Butera, the band’s saxophonist, to sing “They’ll Be No Next Time.

Bands that let someone a little different sing a song or two

At the peak of its popularity, Louis Prima’s band was fronted by two main vocalists. Prima himself, with his eccentric, rough, and comical tone, graced many of the band’s songs. In contrast, his wife, the extraordinary Keely Smith, offered a harmonious counterpoint. Her voice, cool and heaven-reaching, balanced Prima’s in the band’s performances.

In most tunes, Louis usually took the main vocals, supported by Smith and the entire Witnesses (his band). Alternatively, Smith might be the lead singer, while Louis frequently provided supporting dialogue in the songs.

Indeed, Louis did provide the lively discussion in “They’ll Be No Next Time,” but it was actually Butera who took the lead vocals. Moving on, let me tell you, it’s a fantastic tune that allows Butera to cut loose and highlights the witty banter that made Louis Prima’s performances so captivating.

This made me ponder over numerous rock tunes that aren’t performed by the main vocalists of the respective bands.

Initially, during the rise of rock and roll, most bands typically featured a main vocalist positioned upfront. However, one significant impact the Beatles made on contemporary music was by sharing vocal duties among its members, which could be described as making singing opportunities more equal or accessible.

John and Paul typically handled the majority of the singing duties, but Ringo often had his own song to perform. As George started composing more songs, he also took on a larger share of the vocal responsibilities. Similarly, in their clone band, the Monkees, Micky and Davy were the primary singers, while Mike and Peter contributed significantly enough to be recognized for their singing abilities as well.

This version maintains the original meaning, but it may flow more smoothly and be easier to understand for some readers.

Over time, some rock bands tended to stick with a single lead vocalist. However, groups like Kiss, Ozark Mountain Daredevils, and many others began allowing other band members to step up and take on lead vocals instead.

Today, I’m on the hunt for some unique rock tunes! Instead of my usual favorite model, I’m drawn to songs where a band member who seldom sang took center stage. It doesn’t have to be a one-time occurrence; I’m open to finding tracks where this rare vocal performance adds an exceptional twist. Let’s dive into the world of unexpected rock voices!

To clarify, if Ace Frehley had sung just one or two more songs for Kiss after “Shock Me,” they might be included in our list. However, he sang around six additional songs before departing the group. Therefore, when evaluating songs for this list, you may want to keep in mind that they should be below the Ace Frehley contribution level.

As a music enthusiast, I must admit that some tracks feature guest vocals from artists not originally in the band. A few tunes might have such collaborations hidden within this collection. We’ll uncover their stories as we delve deeper into the music.

“After Hours” by the Velvet Underground (1969)

In the early stages of The Velvet Underground, Lou Reed was primarily responsible for the band’s songs. Nico occasionally took lead on a few tracks for their debut album, but by the end, Doug Yule started singing more frequently. However, it was Lou Reed’s distinctive New York-influenced monotone that truly defined the group’s vocal identity.

On various instances, drummer Maureen Tucker, who was more atonal and quintessentially New York, often took center stage. Her innocent allure made her perfect for songs such as “I’m Sticking With You”, which had a nursery rhyme feel, and the remarkable nihilism of “After Hours”. Reed’s voice would have given that song a somber tone, but with Tucker singing it transformed into the most heartfelt ode to surrender.

“Midnite Cruiser” by Steely Dan (1972)

Donald Fagen initially found it tough to adapt as the main vocalist in Steely Dan. On their debut album, “Can’t Buy a Thrill”, he didn’t sing alone but shared vocals with David Palmer, a talented singer who took the lead on one of the minor hits, “Dirty Work”, and harmonized with Fagen on several other tracks. However, Palmer and everyone else except Fagen and Becker would eventually leave the band.

Currently, Palmer’s tunes don’t seem much like the familiar Steely Dan style. However, Jim Hodder, who possessed a hint of Fagen’s whine, took on “Midnite Cruiser,” which perfectly captures the essence we cherished from the band. Notably, “Dallas” was one of the early songs where Hodder lent his voice, but I think this is the only other Steely Dan song he sang lead on.

“Have a Cigar” by Pink Floyd (1975)

2003 saw Blink-182 extending an invitation to one of their musical influences, Robert Smith from The Cure, to share lead vocals with Tom DeLonge on the track “All of This.” While it’s not uncommon for established bands to invite others to perform with them, this particular instance was more like a dream come true – a touch of wish fulfillment made real.

On the contrary, when Pink Floyd invited Roy Harper to sing the opening track on side two of their critically acclaimed “Wish You Were Here” album, it was David Gilmour who felt out of sync with Roger Waters’ scathing critique of the music business. As he didn’t agree with this perspective, Gilmour believed his own vocals weren’t suitable for the song.

Instead of feeling satisfied with his singing performance, Waters wasn’t quite happy with it. Thus, Gilmour asked his friend Harper, who happened to be working on some recordings at the moment, to give it a try. The outcome was impressive, although Waters later criticized Harper’s rendition for being too harsh. Indeed, Roger Waters was known for being particularly demanding when it came to his work.

“Cool For Cats” by Squeeze (1979)

Glenn Tilbrook and Chris Difford collaborated on most of Squeeze’s songs, with Tilbrook typically taking the lead due to his higher-pitched, more melodious voice. Difford usually contributed harmonies in a lower tone. This distinct sound is evident from their very first hit single, “Take Me I’m Yours.

The following year, Difford took the lead on the title track of their second album titled “Cool For Cats“. With his rough and over-the-top cockney accent, Difford chose to step away from the sweetness that was common in many of Squeeze’s other hits. However, he selectively sang when necessary, and it proved effective for this song. “Cool For Cats” ended up being Squeeze’s most successful single.

“Guns of Brixton” by the Clash (1979)

In their standard setup, Joe Strummer and Mick Jones composed the majority of the songs and handled the guitar parts. Strummer took the lead vocals in around three-quarters of these songs, while Jones handled the rest of the vocal duties.

Paul Simonon penned a harsh, martial tune for the monumental “London Calling”. Simonon’s unadorned, weary vocals matched the composition flawlessly. He contributed an occasional track to each of the subsequent albums.

A more unconventional instance of having another band member take the lead vocal occurred in the subsequent album, as drummer Topper Headon performed “Ivan Meets G.I. Joe.” However, that song was quite whimsical. Conversely, “Guns of Brixton” was far from it.

“Texarkana” by R.E.M. (1991)

As a gamer, I’d rephrase it like this: Usually, when it came to crafting the words for our tunes, it was my job as R.E.M.’s vocalist, Michael Stipe. I’d be the one belting out those lyrics too. However, during a creative block on “Texarkana” from our hit album Out of Time, Mike Mills, our bassist, lent a helping hand and contributed some of the lyrics.

Typically, Mills supported Stipe’s lead melodies, but in this instance, they switched roles. On this particular album, Mills created a charming solo piece for himself, featuring other guest vocalists such as Kate Pierson from the B-52’s and rapper KRS-One.

“Jesus Built My Hotrod” by Ministry (1991)

Instead of a charming, melodious tune, this wasn’t quite that. Perhaps that’s because they transformed one of the hard-hitting grunge bands from the ’90s with vocals reminiscent of the incoherent Gibby Haynes, the lead singer of Butthole Surfers.

Somehow, the ordinary vocalist Al Jourgensen managed to harmoniously assemble everything into an energetic burst that no other singer could have pulled off. This track turned out to be one of Ministry’s most popular songs.

2025-05-08 16:00